Eric Rohmer's literary beginnings and Mary Beard's take on classical studies
A recent article in The New Yorker reveals that acclaimed filmmaker Eric Rohmer, known for "Ma Nuit chez Maud," initially pursued a career in literature. Under the pseudonym Gilbert Cordier, he published a novel titled "Elisabeth" in 1946 with Gallimard. This novel, recently translated into Spanish by Ediciones JC, has not reached Chile. The New Yorker critic praises "Elisabeth" for its psychological depth, comparing it to Henry James. The story centers on a young engineer working near Paris who develops a relationship with an older widow, grappling with whether to treat it as a fleeting adventure or a significant destiny. A relationship with a student also precipitates the novel's uncontrolled conclusion.
While "Elisabeth" shares a superficial resemblance to Jean Renoir's "La Règle du jeu" in its atmosphere, its narrative structure is described as more modern and expressively daring than Rohmer's later, more classical cinematic style. The novel was unsuccessful, and a subsequent collection of stories, "Six Moral Tales," was rejected by its publisher in the 1970s. This literary disappointment likely prompted Rohmer to shift his focus to filmmaking. Ten years after his literary struggles, in 1959, Rohmer began directing his first feature film, "Le Signe du Lion," and went on to become a prominent figure of the French New Wave. Before his directorial career, Rohmer was a critic and editor-in-chief of the influential Cahiers du cinéma. His work consistently explored themes of romantic relationships and the pursuit of a destined love, tested by casual encounters, a pattern evident in his "Six Moral Tales" (1962-1972) and later "Comedies and Proverbs" series, where protagonists' expectations were measured against reality.
Separately, the article discusses "Clásicos sin filtros" (Classics Without Filters) by Mary Beard, a Cambridge professor and Princess of Asturias laureate. Beard aims to demystify classical Greek and Roman studies, sharing her own early fascination with the subject. She examines the significance of ancient sites like the Acropolis and the Pantheon, and the enduring relevance of texts by Plato and Aristotle, and figures like Oedipus and Antigone. Beard emphasizes that classical manifestations were often intertwined with power dynamics, cautioning against naivete. The review notes Beard's grounding in late 20th-century cultural studies and suggests some of her observations lean towards multiculturalism. The author of the review questions why French, Spanish, Italian, or German perspectives are seemingly absent from Beard's focus on English and American classicists. While Beard intends to be engaging, the review finds her prose often pretentious and her digressions into cultural battles distracting, ultimately finding the book tedious and overly self-centered.
The article highlights the dual nature of artistic legacy, showcasing how a creator's early, less successful endeavors can inform their later, celebrated work, as seen with Eric Rohmer's literary origins preceding his cinematic career. It also critiques contemporary approaches to historical subjects, questioning the framing and inclusivity of Mary Beard's "Classics Without Filters." The analysis suggests that while the intent to make classical studies accessible is commendable, the execution may fall short by imposing modern analytical frameworks and potentially overlooking diverse scholarly traditions. This raises questions about how established disciplines evolve and whether efforts to democratize access risk oversimplification or bias, particularly when engaging with foundational cultural narratives that have historically been intertwined with power structures. The review implicitly prompts consideration of how future scholarship will balance rigorous historical inquiry with broader public engagement, and whether such efforts adequately represent the multifaceted global heritage of classical thought.
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